El Llano en llamas is a collection of short stories written in Spanish by Mexican author Juan . short stories. La herencia de Matilde Arcángel in Spanish online. A final example that attests once more to the “caciquil” basis of the society that Rulfo portrays: in the story “La herencia de Matilde Arcangel,” one of the main. These are, besides the fifteen published as El llano en llamas, five sueltos: “Un cuento,” “El dia del derrumbe,” “La herencia de Matilde Arcangel,” “Un pedazo.

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By putting matilxe is logically the climax of this part before any of the action which leads up to it, the reader’s attitude with respect to the apparent flow of time is again altered.

Nothing happens; the first-person narrator simply gives herrencia some racangel on her station in life she is a prostitute. At the end of “La Cuesta de las Comadres, ” the narrator skips from the narration of his speech directed to the body of the man he has just killed, to telling us that the moon had changed position when he returned to the Cuesta with his empty fishing basket.

In Part II of “La vida no es muy seria en sus cosas,” Rulfo narrates a connected series of related events, which serve to move time forward.

This is information which logically should precede the. The reader continues, searching for a clue that will explain something about why this situation exists and who the characters are. The character-narrator of “Luvina” is referred to as el hombre or el hombre aquel by the omniscient narrator. This is hinted at in the second paragraph, but not until she makes a reference to her husband can the reader be sure.


The following stories do not: All references to this story in the present dissertation refer to the edition indicated. The actual events of the narration start thus: In Part I, in the dialogue between father and son, time moves along slowly as they converse. When we read, concerning Feliciano: His is simply a rambling conversation 31 with himself, whose purpose is to keep him awake so he can kill frogs and thus not incur the wrath of his stepmother.

Nevertheless, the brief appearance of an omniscient narrator has an important role in the story. He narrates the passing of two opposing groups of soldiers, how the father joined one group and the son the other, and the return of the son with his dead father’s body. Owing to the similarity of such techniques, the change from one to the other is extremely subtle, resulting in more or less uncertainty on the reader ‘ s part as to which process is taking place, and thus requiring greater.


A further enhancement of this disoriented feeling comes in Part III where therfe again appears a dialogue which is partially suppressed: The second category includes settings which are more completely described but which are composed of elements of nebulosity, such as fog, smoke, haze, or dust, and which tend to shroud the physical sur- roundings from the reader’s view.

During the brief dialogue, which constitutes the bulk of the flashback, it moves somewhat slower than it does during the narrated part, which is in effect a dialogue which has been condensed eind paraphrased: The actual way in which it is narrated is little different from the way in which he narrates Matilde’ s getting killed by a horse, with the important exception of the fact that in Part II, the reader does not know beforehand the outcome of the action.

She accepts, and the time then jumps to early the next morning p. Third, the omniscient narrator serves to identify the two characters and moves them spatially, a function which gradually is suppressed. Senti el retrato de mi madre guardado en la bolsa de la camisa, calentandome el corazon I5 At the very end of the story the process of creating monotony, and thus suspending time, stops. Por eso me di prisa a esconderme hasta el fondo del corral It is very short and is presented in such a way that its intrusion is scarcely noticeable.

The narrator links the reader with the story, so we will begin by studying this link.

We are not told why till later, however, when Remigio suggests that the protagonist killed his brother in order to rob him p. He also refers to los cerros altos, as if the reader were familiar with the area and would immediately recognize it, which of course is not the case, thus leaving the reader puzzled as to which high peaks to the south of what he is referring to. Ahora su hi jo se estaria burlando de el. The final version of the collection has seventeen short stories.


They go on from here, and never return to explain what they have come for. A similar situation is to be found in the hombre hsrencia statement that “no debi matarlos a todos; me hubiera conformado con el que tenia que matar” p. In his introduction to the Texas edition, translator Hrrencia D. This is especially important as the new narrator gives out information which was withheld in Part I, such as the name of the family which was assassinated.

In the first section, we shall examine those stories in which the establishment of point of view presents a particular problem.

The first of these is plural rather than singular number, which is used almost exclusively until the last part of the story pp. Me estuve alii esperando, hasta que al fin aparecio este hombre. This great preponderance of dialogue, which goes directly to the reader without a narrator imposing himself xrcangel story eind reader, means that the aesthetic distance between the two is lessened.

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The first category includes settings which are characterized as skeletal. Even within nosotros, the individuals are el Chihuila, la Perra arid los Cuatro, none of which nicknames aid in relieving the reader’s impression of incompleteness. La semana pasada se me murfo mi tia Jacinta, mattilde el sabado, cuando ya la habiamos enterrado y comenzaba a bajarsenos la tristeza, comenzo a Hover como nunca. Mas insistente aun que en los demas cuentos es aqui el laconismo repetitive y monotone del que narra la historia.

The critic who has dealt most extensively and intensively with Rulfo’s stories is Donald Aecangel. Casi tapaban el agujero de las troneras con su bulto, de modo que aquello era como tirarles a boca de jarro y hacerles pegar tamano respingo de la vida a la muerte sin que apenas se dieran cuenta, Pero esto duro muy poquito This is one of two short stories that the author added to the second edition of the Spanish language collection in The events which he describes take place at indefinite times: